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<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="fr" lang="fr"> <head> <meta http-equiv="Content-type" content="text/html; charset=utf-8" /> <meta http-equiv="Content-language" content="" /> <link rel="shortcut icon" type="image/x-icon" href="favicon.ico" /> <title>Calenda - Films en miroir</title> <link rel="stylesheet" type="text/css" href="https://static-origin.openedition.org/openbarre_/styles/main.css?date=2018-11-06" /> <link rel="stylesheet" type="text/css" href="css/screen.css" media="screen, print" /> <link rel="stylesheet" type="text/css" href="css/print.css" media="print" /> <script type="text/javascript" src="js/jquery.js"></script> <script type="text/javascript" src="js/jquery-ui-1.8.17.custom.min.js"></script> <script type="text/javascript" src="js/jquery.form.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-fr.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-de.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-en.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-pt.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-es.js"></script> <script type="text/javascript" src="js/jquery.sprintf.js"></script> <script type="text/javascript" src="js/calenda.js"></script> <script type="text/javascript" src="js/common.js"></script><!-- Social network --> <meta name="twitter:card" content="summary" /> <meta property="og:type" content="article" /> <meta name="twitter:site" content="@calendaSHS" /> <meta property="og:url" content="https://calenda.org/797268" /> <meta property="og:title" content="Films en miroir" /> <meta property="og:description" content="Ce numéro de la revue Ebisu. Études japonaises se propose de repenser les quarante dernières années du cinéma japonais, selon plusieurs axes : industriel, esthétique, thématique et théorique. L’his..." /> <meta property="og:image" content="https://calenda.org/images/favicon_150x150.png" /> <meta name="DC.rights" content="https://creativecommons.org/publicdomain/zero/1.0/" /> <meta name="viewport" content="width=device-width, initial-scale=1, shrink-to-fit=no"></head> <body> <div id="ob-breadcrumb" class="ob-breadcrumb-calenda"> <div class="container"> <a href="search">Accueil</a><a href=""><span>Films en miroir</span></a> </div> </div><!-- breadcrumb --> <div id="wrapper"> <div id="content"> <script type="text/javascript" src="js/jquery.js"></script> <script type="text/javascript" src="js/jquery-ui-1.8.17.custom.min.js"></script> <script type="text/javascript" src="js/jquery.form.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-fr.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-de.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-en.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-pt.js"></script> <script type="text/javascript" src="js/jquery.ui.datepicker-es.js"></script> <script type="text/javascript" src="js/jquery.sprintf.js"></script> <script type="text/javascript" src="js/calenda.js"></script> <script type="text/javascript" src="js/common.js"></script> <h2 id="pageTitle" class="title_as_rss"><a href="search">Accueil</a><a href=""><span>Films en miroir</span></a></h2> <div class="colwrapper"> <div id="icon" class="column"> <h2><a href="search?primary=ftype&ftype=40">Appel à contribution</a><span><a href="search?primary=fsubject&fsubject=344">Asie</a></span></h2> <div id="tabledates"> <h2>Dates</h2> <div class="list_dates"> <table> <tbody> <tr> <td class="unique_date"> <div class="day"><a href="search.html?primary=fdate&fyear=2020&fmonth=09&fday=30">30</a></div> <div class="month"><a href="search.html?primary=fdate&fyear=2020&fmonth=09">sep</a></div> <div class="year"><a href="search.html?primary=fdate&fyear=2020">2020</a></div> </td> </tr> </tbody> </table> </div> </div> <div id="listcategories"> <h2>Catégories</h2> <ul> <li><a href="search?primary=fsubject&fsubject=348">Japon</a></li> <li><a href="search?primary=fsubject&fsubject=278">Histoire de l'art</a></li> <li><a href="search?primary=fsubject&fsubject=280">Études visuelles</a></li> </ul> </div> </div> <div id="document" class="column"> <div id="main"> <div class="titles"> <h1 class="origt"><a href="797268">Films en miroir</a></h1> <h2 class="origt">Films in the Mirror</h2> <h2 class="origt">鏡の映画たち</h2> <p class="origd">Quarante ans de cinéma au Japon (1980-2020)</p> <p class="origd altertitle">Forty years of cinema in Japan (1980-2020)</p> <p class="origd altertitle">日本映画の40年（1980年−2020年）</p> </div> <div class="mapuce2">* * *</div> <p id="pubdate"> Publié le lundi 31 août 2020 </p> <div id="texte"> <div id="resume"> <p class="intitule">Résumé</p> <div class="tabMenu"><a href="#resume-797268-fr" hreflang="fr" class="active">Français</a> <a href="#resume-797268-en" hreflang="en">English</a> <a href="#resume-797268-ja" hreflang="ja">日本語</a> </div> <div id="resume-797268-fr" class="tabContent" lang="fr" xml:lang="fr"> <p>Ce numéro de la revue <em>Ebisu. Études japonaises </em>se propose de repenser les quarante dernières années du cinéma japonais, selon plusieurs axes : industriel, esthétique, thématique et théorique. L’histoire du cinéma au Japon reste polarisée par deux « âges d’or » : les années 1930 et les années 1950, désignant deux périodes d’excellence, tant en termes de production qu’en termes artistiques. Mais un âge d’or n’a d’impact qu’à proportion du marasme qui l’entoure : des balbutiements du cinéma primitif aux provocations des nouvelles vagues, en passant par les avanies de la propagande militariste, l’historiographie trouverait en tout cas son modèle dans cette scansion entre apogée et déclin. Toutefois, soixante ans après la fin de son dernier « âge d’or », quelle pertinence ce modèle peut-il encore avoir, sinon pour déplorer la gloire passée d’une production désormais sans queue ni tête ?</p> </div> <div id="resume-797268-en" class="tabContent hidden" lang="en" xml:lang="en"> <p>This edition proposes rethinking the last forty years of Japanese cinema along the following lines: industrial, aesthetic, thematic and theoretical. The history of cinema in Japan is still polarised into two “golden ages”: the 1930s and the 1950s, both periods of excellence through their production and artistry. The works of Ozu, Mizoguchi, Naruse and Kurosawa naturally come to mind for their expression of what is considered as quintessence of uniquely Japanese cinema. But the impact of a golden age is discernible only when in proportion to the decline that surrounds it: from the fits and starts of primitive cinema, to the provocations of the new waves, all the while snubbed by militaristic propaganda. Historiography would nevertheless find its model in this scansion between the peak and trough. But sixty years after the end of its last “golden age”, what relevance does such model still hold, if not to deplore the former glory of a production now adrift?</p> </div> <div id="resume-797268-ja" class="tabContent hidden" lang="ja" xml:lang="ja"> <p>本号では、過去40年間の日本映画をいくつかの点について再考したい：企業、映像分析、テーマ、評論。</p> </div> </div> <div id="annonce"> <p class="intitule">Annonce</p> <div class="tabMenu"><a href="#annonce-797268-fr" hreflang="fr" class="active">Français</a> <a href="#annonce-797268-en" hreflang="en">English</a> <a href="#annonce-797268-ja" hreflang="ja">日本語</a> </div> <div id="annonce-797268-fr" class="tabContent" lang="fr" xml:lang="fr"> <h1>Argumentaire</h1> <p style="text-align: justify;">L’histoire du cinéma au Japon reste polarisée par deux « âges d’or » : les années 1930 et les années 1950, désignant deux périodes d’excellence, tant en termes de production qu’en termes artistiques. Les films qu’on leur associe volontiers, ceux d’Ozu, Mizoguchi, Naruse ou Kurosawa, exprimeraient la quintessence d’un cinéma proprement japonais. Mais un âge d’or n’a d’impact qu’à proportion du marasme qui l’entoure : des balbutiements du cinéma primitif aux provocations des nouvelles vagues, en passant par les avanies de la propagande militariste, l’historiographie trouverait en tout cas son modèle dans cette scansion entre apogée et déclin. Toutefois, soixante ans après la fin de son dernier « âge d’or », quelle pertinence ce modèle peut-il encore avoir, sinon pour déplorer la gloire passée d’une production désormais sans queue ni tête ?</p> <p style="text-align: justify;">Autour de 1980, le paysage cinématographique a achevé une mue débutée vingt ans plus tôt : le système des studios qui le structurait s’est effondré, laissant place à de nouveaux acteurs, de nouveaux agencements. Les cinéastes de la période sont toutefois victimes d’un étrange paradoxe. Contemporains des outils vidéo et numériques, des bases de données et d’Internet, leurs films jouissent <em>a priori</em> d’une visibilité sans précédent. Or, leur appréhension hors du Japon semble toujours aussi fragmentaire, peinant à en comprendre logiques et enjeux.</p> <p style="text-align: justify;">Ce numéro se propose de repenser les quarante dernières années du cinéma japonais, selon plusieurs axes :</p> <ul> <li>la refonte du paysage industriel et des modalités de production, de l’immixtion d’acteurs extra-cinématographiques à la création de comités à responsabilité partagée (<em>seisaku iinkai</em>), sans oublier l’émergence de structures indépendantes ;</li> <li>l’apparition d’une génération nouvelle : cinéastes, comédiens et <em>idols</em>, producteurs. On privilégiera aux approches <em>stricto sensu</em> auteuristes les approches transversales, mobilisant des filmographies hétérogènes, afin de mieux souligner les dialogues, les concurrences, les divergences ;</li> <li>la mise en problème des enjeux sociétaux contemporains : la bulle et son dégonflement, la « décennie perdue », le développement du capitalisme (néo)libéral ; les problématiques environnementales (urbanisation et pollution) et/ou liées au séisme de Hanshin-Awaji en 1995 à Kobe et à la triple catastrophe du 11 mars 2011 ; la question des minorités ; le retour sur l’histoire du xx<sup>e</sup> siècle (voire sa révision) ;</li> <li>l’environnement théorique des films, le dialogue avec les nouvelles voix de la critique, la possibilité même, enfin, d’une théorie du cinéma à l’heure où s’imposent nouvelles plateformes et <em>media studies</em>.</li> </ul> <h1>Responsable du dossier</h1> <p style="text-align: left;">Mathieu Capel avec le comité de rédaction de la revue <em>Ebisu. Études japonaises</em>.</p> <p>Comité de rédaction</p> <ul> <li>Jean-Pascal Bassino,</li> <li>Sophie Buhnik, Adrienne Sala, </li> <li>Rémi Scoccimarro, </li> <li>Bernard Thomann,</li> <li>Amira Zegrour</li> </ul> <h1>Instructions aux auteurs</h1> <p style="text-align: justify;">Les propositions d’article seront envoyées par e-mail, sous forme de fichier attaché (.doc ou .docx), à l’adresse suivante : ebisu [at] mfj.gr.jp</p> <p style="text-align: justify;">Elles seront composées d’un titre provisoire et d’un <strong>résumé de 800 signes</strong>, et devront être accompagnées d’une bibliographie indicative. L’auteur veillera à préciser son nom, son rattachement institutionnel et ses adresses électronique et postale.<span class="Apple-converted-space"> </span></p> <p>Les articles seront d’une longueur maximale de 50 000 signes. Lire ­attentivement les consignes indiquées ci-dessous : <a href="https://journals.openedition.org/ebisu/1057">https://journals.openedition.org/ebisu/1057</a></p> <h3>Date limite d’envoi des déclarations d’intention : 30 septembre 2020</h3> <p>Date limite d’envoi des articles : 1er avril 2021</p> </div> <div id="annonce-797268-en" class="tabContent hidden" lang="en" xml:lang="en"> <h1>Argument</h1> <p style="text-align: justify;">The history of cinema in Japan is still polarised into two “golden ages”: the 1930s and the 1950s, both periods of excellence through their production and artistry. The works of Ozu, Mizoguchi, Naruse and Kurosawa naturally come to mind for their expression of what is considered as quintessence of uniquely Japanese cinema. But the impact of a golden age is discernible only when in proportion to the decline that surrounds it: from the fits and starts of primitive cinema, to the provocations of the new waves, all the while snubbed by militaristic propaganda. Historiography would nevertheless find its model in this scansion between the peak and trough. But sixty years after the end of its last “golden age”, what relevance does such model still hold, if not to deplore the former glory of a production now adrift?</p> <p style="text-align: justify;">Around 1980, the cinematographic landscape re-emerged from the transition it had begun twenty years earlier. The structuring system of studios collapsed, clearing the way for new players and configurations. Yet the filmmakers of that period fell victim to an unusual paradox. The films of contemporaries of video and digital tools, databases and the Internet enjoyed <em>a priori </em>unprecedented visibility. However, and despite ground-breaking works in recent years, their understanding beyond Japan remains equally fragmented.</p> <p style="text-align: justify;">This edition proposes rethinking the last forty years of Japanese cinema along the following lines:</p> <ul> <li>the overhaul of the industrial landscape and production procedures, from the meddling of players outside the cinematographic space, to the creation of shared responsibility committees (<em>seisaku iinkai</em>), not forgetting the emergence of independent structures;</li> <li>the appearance of a new generation: filmmakers, comedians and idols, producers. Heterogenous filmographies will be preferred over strictly auteurist approaches, to better emphasise dialogue, competition and divergences;</li> <li>the examination of contemporary societal challenges: the bubble and its deflation, the “lost decade”, the development of (neo)-liberal capitalism, environmental issues (urbanisation and pollution) and/or linked to the Great Hanshin-Awaji Earthquake in 1995 in Kōbe and to the triple disaster of 11 March 2011; the question of minorities; the return to twentieth century history (and even its revision);</li> <li>the theoretical environment of films, dialogue with new critical voices, the possibility, at last, of a theory of cinema at a time when new platforms and media studies take up more space.</li> </ul> <p>The papers submitted in English will be translated into French.</p> <h1><span lang="en">Instructions to authors</span></h1> <p style="text-align: justify;"><span lang="en">Paper proposals will be sent by email, as an attached file (.doc or .docx), to the following address: ebisu [at] mfj.gr.jp</span></p> <p style="text-align: justify;"><span lang="en">They will consist of a provisional title and a summary of 800 characters, and must be accompanied by an indicative bibliography. The author will take care to specify their name, their institutional affiliation and their email.</span></p> <p style="text-align: justify;"><span lang="en">Papers will be a maximum of 50,000 characters in length.</span></p> <p style="text-align: justify;"><span lang="en">Carefully read <a href="https://journals.openedition.org/ebisu/1057">the instructions</a>.</span></p> <h3><span lang="en">Deadline for declarations of intent: September 30, 2020</span></h3> <p><span lang="en">Deadline for submitting papers: April 1, 2021</span></p> <h1>Scientific direction</h1> <p style="text-align: left;">Mathieu Capel with editorial committee of <em>Ebisu. Études japonaises</em>.</p> <p>Editorial committee</p> <ul> <li>Jean-Pascal Bassino,</li> <li>Sophie Buhnik, Adrienne Sala, </li> <li>Rémi Scoccimarro, </li> <li>Bernard Thomann,</li> <li>Amira Zegrour</li> </ul> </div> <div id="annonce-797268-ja" class="tabContent hidden" lang="ja" xml:lang="ja"> <p style="text-align: justify;">日本の映画の歴史は、1930年代と1950年代という2つの「黄金時代」によって二極化されている。これらの2つの時代は制作面でも芸術面でも優れている。小津、溝口、成瀬、黒澤など、彼らにゆかりの深い作品は、真の日本映画の真髄を表現しているとされる。原始的な映画の始まりからヌーヴェルヴァーグの挑発、軍国主義的なプロパガンダの進歩に至るまで、歴史の記録はいずれにしても、終焉と衰退の間の区切りにそのモデルを見つけることになるだろう。しかし、最後の "黄金時代 "が終わってから60年経った今でも、映画制作の過去の栄光を嘆くためではなく、このモデルは有用といえるだろうか？</p> <p style="text-align: justify;">1980年頃、映画の風景は60年代から始まった変化を終えたところだった。スタジオシステムが崩壊し、映画界の構造が一新された。しかし、この時代の映画人たちは、奇妙なパラドックスの犠牲になっていた。映像やデジタルツール、データベース、インターネットなどを駆使した現代的な作品は、これまでにない可能性を提示したが、海外でのアプローチは未だに細分化されており、その論理や問題点を理解するのは難しかったのだ。</p> <p style="text-align: justify;">本号では、過去40年間の日本映画をいくつかの点について再考したい。</p> <ul> <li>独立構造の出現を踏まえた、映画界以外の介入から委員会の創設までの制作風景と生産方法の改造。</li> <li>映画製作者、俳優、アイドル、プロデューサーなどの新世代の出現。対話、競争、意見の相違などをより強調するための、異なるフィルモグラフィーを導入した作家主義的なアプローチ。</li> <li>バブルとデフレ、「失われた10年」、（ネオ）リベラル資本主義の発展、環境問題（都市化と公害）、1995年の阪神・淡路大震災と2011年3月11日の災害に関連した問題、マイノリティの問題、20世紀の歴史への回帰（あるいはその修正）など、現代の社会問題への問いかけ。</li> <li>映画の理論的環境、新しい批評の声との対話、新しいプラットフォームやメディア学が課せられている時代の映画理論の可能性。</li> </ul> <p> </p> <p>日本語の論文はフランス語に翻訳致します。</p> <p>タイトル、300字の要旨、参考文献を9月30日までにebisu [at] <a href="http://mfj.gr.jp/">mfj.gr.jp</a>までお送りください。</p> <p>制限文字数：20,000字</p> <p>申し込み締め切り：2020年9月30日</p> <p>提出期限：2021年4月1日</p> </div> </div> <div id="categories" class="cat"> <p class="intitule">Catégories</p> <ul> <li><a href="search?primary=fsubject&fsubject=344">Asie</a> (Catégorie principale)</li> <li><a href="search?primary=fsubject&fsubject=327">Espaces</a> > <a href="search?primary=fsubject&fsubject=344">Asie</a> > <a href="search?primary=fsubject&fsubject=347">Extrême Orient</a> > <a href="search?primary=fsubject&fsubject=348">Japon</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Représentations</a> > <a href="search?primary=fsubject&fsubject=278">Histoire de l'art</a></li> <li><a href="search?primary=fsubject&fsubject=259">Esprit et Langage</a> > <a href="search?primary=fsubject&fsubject=276">Représentations</a> > <a href="search?primary=fsubject&fsubject=280">Études visuelles</a></li> </ul> </div> <div id="lieux"> <p class="intitule">Lieux</p> <ul> <li class="location"> Tokyo, Japon </li> </ul> </div> <div id="eventformats"><br></div> <div id="dates"> <p class="intitule">Dates</p> <ul> <li>mercredi 30 septembre 2020</li> </ul> </div> <div id="attachments"> <p class="intitule">Fichiers attachés</p> <ul> <li><a href="797288?file=1" target="_blank">Ebisu59_appelcontributions.pdf</a></li> </ul> </div> <div id="motscles"> <p class="intitule">Mots-clés</p> <ul> <li>cinéma, japon, critique, histoire, industrie cinématographique, plateforme, VOD</li> </ul> </div> <div id="contacts"> <p class="intitule">Contacts</p> <ul> <li>Amira Zegrour<br/><em>courriel :</em> ebisu [at] mfj [dot] gr [dot] jp<br/></li> </ul> </div> <div id="refurl"> <p class="intitule">URLS de référence</p> <ul> <li><a href="https://journals.openedition.org/ebisu/">Ebisu. Études japonaises</a></li> </ul> </div> <div id="source"> <p class="intitule">Source de l'information</p> <ul> <li>Amira Zegrour<br/><em>courriel :</em> ebisu [at] mfj [dot] gr [dot] jp</li> </ul> </div> <div id="license"> <p class="intitule">Licence</p> <p><a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/"><img alt="CC0-1.0" class="cc" src="images/cc0-88x31.png" /></a> Cette annonce est mise à disposition selon les termes de la <a rel="license" href="https://creativecommons.org/publicdomain/zero/1.0/">Creative Commons CC0 1.0 Universel</a>.</p> </div> <div id="citation"> <p class="intitule">Pour citer cette annonce</p> <p>« Films en miroir », <span class="category">Appel à contribution</span>, <em>Calenda</em>, Publié le lundi 31 août 2020, <a class="url" href="https://doi.org/10.58079/157v">https://doi.org/10.58079/157v</a></p> </div> </div> </div> </div> <div id="news" class="column last"> <div id="imprimable"> <a id="impression" 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